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Tom Phippen
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Apr 19, 2014
1,227 Qi Facts to Blow Your Socks Off
John Lloyd "QI" is the smartest comedy show on British television, but few people know that we're also a major legal hit in Australia, New Zealand, Israel and Africa and an illegal one on BitTorrent. We also write books and newspaper columns; run a thriving website, a Facebook page, a Twitter feed; and produce an iPhone App and a sister Radio 4 programme. At the core of what we do is the astonishing fact - painstakingly researched and distilled to a brilliant and shocking clarity. In Einstein's words: 'Everything should be as simple as possible, but not simpler.' Did you know that: cows moo in regional accents; the entire internet weighs less than a grain of sand; the dialling code from Britain to Russia is 007; potatoes have more chromosomes than human beings; the London Underground has made more money from its famous map than it has from running trains; Tintin is called Tantan in Japanese because TinTin is pronounced 'Chin chin' and means penis; the water in the mouth of a blue whale weighs more than its body; Scotland has twice as many pandas as Conservative MPs; Saddam's bunker was designed by the grandson of the woman who built Hitler's bunker; Under the Wildlife and Countryside Act of 1981, it is explicitly illegal in Britain to use a machinegun to kill a hedgehog. "1,227 QI Facts To Blow Your Socks Off" will make you look at the universe (and your socks) in an alarming new way.
Arrested Development - Season 2
Arrested Development - Season 3
Arrested Development—one of the greatest comedies in the history of television—went out in a blaze of glory. The truncated final season packed more biting humor per minute than ever before. In only 13 episodes, dozens of intertwining storylines spun in all directions: In addition to the overarching story about the fractious infighting of the Bluth family and the family's housing development company being investigated for treason in Iraq (a plot arc that comes to a dazzlingly surreal conclusion), the put-upon "good son" Michael Bluth (Jason Bateman, Teen Wolf Too) pursues romance with a lovely British woman (Charlize Theron, Monster) who turns out to be woefully inappropriate; swaggering magician Gob (Will Arnett, Monster-In-Law) flees from his newly-discovered teenage son while still pandering for the affection of his self-absorbed father (Jeffrey Tambor, The Larry Sanders Show); flighty Lindsay (Portia de Rossi, Ally McBeal) and her sexually blurry husband Tobias (David Cross, Mr. Show) both get the hots for the family's new lawyer, Bob Loblaw (Scott Baio, Charles in Charge); and much, much more.

It's difficult to describe what makes Arrested Developmentso brilliant. The ensemble is uniformly superb (Jessica Walter, as the family's boozing, scheming matriarch, is particularly devastating this season) and the surprising guest stars (including Andy Richter, James Lipton, Justine Bateman, and many others) are perfectly cast; the characters' abominable behavior defies conventional television notions of "likability", yet they only grow more endearing the more you watch; the humour embraces wild slapstick and sharp satire, often within a single scene; and the nimble documentary style allows for sly glancing references to jokes and scenes from long-past episodes, rewarding devoted fans. But the key is that, no matter how screwball Arrested Developmentbecomes, the show offers a rich, textured, and wonderfully coherent world in which these characters feel genuine, a world completely unlike the flat, plastic simulacrum offered by the average sitcom. Arrested Developmentwas true to itself to the end. Its followers will cherish it forever. —Bret Fetzer
Arrested Development: Season 1
Blackadder: Complete Series 1-4
Follow the progress of Rowan Atkinson's irredeemably wicked Edmund Blackadder throughout history in this complete box set of all four series—from the snivelling War of the Roses-era creep in the Shakespearean parody that was the first series, to his final and unexpectedly noble demise in the trenches of the First World War in Blackadder Goes Forth. In between, of course, we see Edmund at the court of giggly Queen Elizabeth I in Blackadder II, now transformed into the Machiavellian cad audiences came to love so well (thanks to a character overhaul from writing team Ben Elton and Richard Curtis and Rowan Atkinson’s note-perfect performance). Then in Blackadder IIIhe's still scheming, but this time has moved a little down the social ladder as butler to the congenitally stupid Prince Regent on the cusp of the 18th and 19th centuries. In all four generations Blackadder is accompanied (or should that be hampered?) by his faithful yet terminally stupid servant Baldrick (Tony Robinson); and if that wasn't bad enough he also has to put up with the incompetence, pomposity and one-upmanship of a host of other contemporary hangers-on wonderfully played by regular costars Hugh Laurie, Tim McInnery, Stephen Fry, Miranda Richardson and Rik Mayall. Taken as a whole this sharp, cynical, occasionally satirical, toilet humour-obsessed and achingly funny saga deserves to stand alongside Fawlty Towersas one of the best ever British sitcoms. —Mark Walker
Blazing Saddles [1974]
Mel Brooks
The Blues Brothers, The / Blues Brothers 2000 [1980]
John Landis The Blues Brothers: John Belushi and Dan Aykroyd—as "legendary" Chicago brothers Jake and Elwood Blues—brought their "Saturday Night Live" act to the big screen in this action-packed hit from 1980. As Jake and Elwood struggle to reunite their old band and save the Chicago orphanage where they were raised, they wreak enough good-natured havoc to attract the entire Cook County police force. The result is a big-budget stunt-fest on a scale rarely attempted before or since, including extended car chases that result in the wanton destruction of shopping malls and more police cars than you can count. Along the way there's plenty of music to punctuate the action, including performances by Ray Charles, Aretha Franklin, Cab Calloway and James Brown that are guaranteed to knock you out. Keep an eye out for Steven Spielberg as the city clerk who stamps some crucial paperwork near the end of the film.

The Blues Brothers 2000: It's hard to ignore the sad and conspicuous absence of the late John Belushi, but this long-delayed sequel still has Dan Aykroyd to keep the music alive. Once again, Elwood's trying to reunite the original Blues Brothers Band, and this time he's got a strip-joint bartender (John Goodman) and a 10-year-old orphan named Buster (J Evan Bonifant) joining him at centre stage. It's a shameless clone of the first film, and nobody—especially not Aykroyd or director John Landis—seems to care that the story's not nearly as fun as the music. Of course there's a seemingly endless parade of stunts, including a non-stop pileup of police cars that's hilariously absurd, but what really matters here—indeed, the movie's only saving grace—is the great line-up of legendary blues musicians. Aretha Franklin, James Brown, Junior Wells, Eric Clapton, BB King, Jonny Lang, Eddie Floyd and Blues Traveler are among the many special guests assembled for the film, and their stellar presence makes you wonder if the revived Blues Brothers shouldn't remain an obscure opening act. —Jeff Shannon, Amazon.com
The Book of Dave: A Revelation of the Recent Past and the Distant Future
Will Self
Brass Eye [1997]
Michael Cumming Chris Morris'Brass Eyeis a brilliantly funny spoof on current affairs media that carries on where his previous The Day Todayleft off. The show ran for one single, contentious series in 1997, to be followed by an even more controversial one-off in 2001. While these episodes might cause offence to those not versed in Morris' satirical methods, and while one occasionally suspects his work is informed by a dark seam of malice and loathing rather than a desire to educate, Brass Eyeremains vital satire, magnificently hilarious and, in its own way, fiercely moral viewing.

Brass Eyesatirises a media far too interested in generating dramatic heat and urgency for its own sake than in shedding light on serious issues. Morris mimics perfectly the house style of programmes such as Newsnightand Crimewatch, with their spurious props and love of gimmickry. Meanwhile his presenter—an uncanny composite of Jeremy Paxman, Michael Buerk and Richard Madeley among others—delivers absurd items about man-fighting weasels in the East End and Lear-esque lines such as "the twisted brain wrong of a one-off man mental" with preposterously solemn authority. Much as the media itself is wont to do, each programme works itself up into a ridiculous fever of moral panic. Most telling is the "drugs" episode, in which, as ever, real-life celebrities, including Jimmy Greaves and Sir Bernard Ingham, are persuaded to lend their name to a campaign against a new drug from Eastern Europe entitled Cake. The satirist's aim here isn't to trivialise concern about drugs but to point up the media's lack of attention to content.

A response to the ill-conceived News of the Worldwitch-hunt, in the wake of the Sarah Payne affair, the 2001 "paedophilia" special was the most supremely controversial of the series. It followed the usual formula—duping celebs such as Phil Collins into endorsing a campaign entitled "Nonce Sense", urging parents to send their children to football stadiums for the night for their own safety and mooting the possibility of "roboplegic" paedophiles—and prompted the sort of hysterical and predictable Pavlovian response from the media that Brass Eyelampoons so tellingly.

On the DVD:Brass Eyeon DVD includes brief outtakes, such as "David Jatt" interviewing celebrities about breeding hippos for domestic purposes, an hilarious exchange with Jeffrey Archer's PA ("He's a very wicked little man") as well as trailers for the paedophilia special.—David Stubbs
Brave [Blu-ray][Region Free]
Kelly Macdonald, Billy Connolly, Mark Andrews, Brenda Chapman Pixar Animation Studios, the creator of Toy Story 3, whisks you away on an astonishing adventure to an ancient land full of mystery and tradition. Bursting with heart, unforgettable characters and Pixar’s signature humour. Take a heroic journey with Merida, a skilled archer and headstrong daughter of King Fergus and Queen Elinor. Determined to carve her own path in life, Merida defies an age-old custom sacred to the unruly and uproarious lords of the land. When Merida’s actions inadvertently unleash chaos in the kingdom, she must harness all of her skills and resources – including her clever and mischievous triplet brothers – to undo a beastly curse before it’s too late, and discover the meaning of true bravery
Coupling: Complete Series 1
Martin Dennis Couplingis a witty, instantly addictive series that charts the tangled sex lives of a close-knit group comprising "exes and best friends": womaniser Jack, hapless nice guy Steve, "strange and disturbing" Jeff, uninhibited Susan, neurotic Sally and manipulative Jane. The obvious frame of reference is Friends(Steve and Susan are the Ross and Rachel equivalent), but this series also echoes Seinfeldin its coinage of catchphrases and plot lines (in episode one, Steve tries to dump Jane, who refuses to accept). But it's no mere British clone of US sitcoms: Couplinghas its own fresh and provocative take on relationships. At one point, a furious Susan discovers that Patrick not only had a videotape of the former couple having sex, but that he also taped over her. —Donald Liebenson
Coupling: Complete Series 2
Martin Dennis Steven Moffat's second series of Coupling, first broadcast in 2001, is a brilliant consolidation of all those neuroses, small deceits, obsessions and personality tics that struck such a resonant chord when Steve, Susan and their four friends were first unleashed on us. Comparisons with Friendsitself are tiresome and lazy: Couplingis an intrinsically British comedy that picks apart the trivial and the mundane in everyday relationships and takes them on surreal journeys, leaving the participants hilariously bemused and rarely any wiser.

Its success is due to the magical combination of Moffat's very funny scripts and the talents of six extremely likable actors, including Jack Davenport (Steve) and Sarah Alexander (Susan). But it's Richard Coyle's Jeff, whose sexual fantasies and putting-your-his-in-it propensities exert a compelling fascination, who really keeps you watching through your fingers as you hold your hands to your face in disbelief.

Breasts, bottoms and pants are the basis for most of the conversational analysis when these friends get together as a group, as couples, as girlfriends or as mates, invariably becoming metaphors for the state of a relationship or situation. Individual viewpoints and terrors are explored through respective memories of the same event and what-if scenarios. Chain reactions inevitably ensue, fuelling comedy that is based almost entirely on misunderstanding.

On the DVD:Coupling, Series 2on disc is presented in 16:9 anamorphic video aspect ratio, together with a crisp Dolby Digital stereo soundtrack; Mari Wilson's sensuous version of "Perhaps, Perhaps, Perhaps" for the theme tune deserves a special mention. Extras include disappointing interviews with writer Steven Moffat and Jack Davenport, which are mainly an excuse to repeat several major scenes from the series in full. The "Behind the scenes" feature is also a let-down: it's just a not very funny record of a cast photo shoot. —Piers Ford
Coupling: Complete Series 3
Martin Dennis The third series of Coupling, first aired in 2002, takes fans of the BBC's comedy of sex, manners and modern relationships into new realms of engaging surrealism, leaving those irritating comparisons with Friendstrailing in its wake. The men are constantly in pursuit of a basic grasp of the "emotional things" that make women behave the way they do. The women analyse everything to death. But thanks to Steve Moffat's scripts, tighter and quirkier than ever, these characters are living, breathing human beings rather than cynical ciphers for comedy stereotypes.

The performances are as strong as you'd expect from an established team, with actors such as Jack Davenport (the ever-perplexed Steve), Ben Miles (unreconstructed chauvinist Patrick), Sally Alexander (dryly intelligent Susan) and Kate Isitt (neurotic Sally) wearing their roles like second skins. But in the surreal stakes, it's Richard Coyle as Jeff, wondering aloud what happens to jelly after women have finished wrestling in it, and Gina Bellman as Jane, musing on the importance of a first snog in identifying what men like to eat, who really raise the laughter levels. All things considered, this is superior comedy for all thirtysomethings—genuine and putative. —Piers Ford
Coupling: Complete Series 4
Coupling Season 4: feel free to insert your own "four-play" joke, or for that matter, your own "insert" joke. Sex is still topic 1 for the intertwined group of "exes and best friends", but in this pivotal season there are momentous "relationship issues" that will upend all their lives (insert your own "upend" joke while you're at it).

Susan is pregnant, inspiring in Steve nightmares about his own execution and unflattering comparisons of the birth process to John Hurt's iconic gut-busting scene in Alien. Missing in action is the Kramer-esque Jeff (although he makes something of a return in the season finale). Joining the ensemble is Oliver, who is more in the Chandler mode as a lovable loser with the ladies. These inevitable comparisons to "Sein-Friends" are no doubt heresy to Coupling's most devoted viewers. Indeed, this series does benefit from creator and sole writer Steven Moffat's comic voice and vision. He provides his ever-game cast some witty, funny-‘cause-it's-true dialogue, as in Oliver's observation that "Tea isn't compatible with porn". This Britcom is also less inhibited in language and sexual situations than its American counterparts. In the cleverly-constructed opening episode, in which the same "9-1/2 Minutes" are witnessed from three different perspectives, Sally and Jane can do what was left to the imagination when Monica and Rachel offered to make out in front of Joey and Chandler. The birth of Susan and Steven's baby ends the six-episode season on a satisfying and surprisingly moving grace note. A bonus disc takes viewers behind the scenes with segments devoted to bloopers and interviews with cast and crew. —Donald Liebenson
The Critic - The Complete Series
To quote New York movie critic Jay Sherman, voiced to Master Thespian perfection by Jon Lovitz, "it stinks" that The Criticlasted all but two seasons. "I used to have a show on ABC," Sherman bitterly remarks at one point, "for about a week." The show, created by Al Jean and Mike Reiss of Simpsonslegend, fared no better when it moved to Fox, and little better when re-run on Comedy Central. But it did garner a devoted following, and thanks to DVD and the Internet, "the last hope of fading stars" (according to one of the ten "Webisodes" contained in this three-disc set), Jay Sherman lives! Television's saddest sack is the host of a TV review show, Coming Attractions. He must deal with the slings, arrows, and outrageous misfortunes heaped upon him by his ex-wife, adoptive WASP parents, and ratings-desperate Ted Turner-esque boss. On the movie front, The Criticis no less inside than the similarly ill-fated Action, but its hilarious parodies of classics and contemporary blockbusters, from the musical "Apocalypse Wow" to "Dennis the Menace II Society," make it much more accessible to any multiplex-goer.

The Critictook particular glee in zinging Howard Stern, Arnold Schwarzenegger, and Woody Allen and Soon-Yi. (We pause to praise the show's unsung heroes, Maurice Le Marche and Nick Jameson, who provide uncanny celebrity impersonations each episode). Some references have a longer shelf life than others. Conan O'Brien, at the time a fledgling talk-show host, certainly got the last laugh on a spied newspaper headline, "Conan Replaced by Dancing Chicken." And the series' best episode, in which Jay reunites an estranged Roger Ebert and the late Gene Siskel, plays now as a touching tribute to the original Thumb and Thumber. The Criticis poised for discovery. Is it too much to hope that, as with Family Guy, voluminous DVD sales may spark interest in creating new episodes? —Donald Liebenson
Dawn of the Dumb: Dispatches from the Idiotic Frontline
Charlie Brooker
Dead Men Scare Me Stupid
John Swartzwelder One of a series of comedy science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the writer of 59 episodes of The Simpsons.
Detective Made Easy
John Swartzwelder One of a series of comedy/science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the writer of 59 episodes of The Simpsons.
The Dirk Gently Omnibus
Douglas Adams
Double Wonderful
John Swartzwelder Comedy western novel by John Swartzwelder, the author of "The Time Machine Did It", and 59 episodes of The Simpsons.
Earth Vs. Everybody
John Swartzwelder One of a series of comedy science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the writer of 59 episodes of The Simpsons.
Eleven Minutes Late: A Train Journey to the Soul of Britain
Matthew Engel
The Exploding Detective
John Swartzwelder One of a series of comedy science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the author of "The Time Machine Did It", "Double Wonderful", "How I Conquered Your Planet", and 59 episodes of The Simpsons.
Extras - The Special
Ricky Gervais Uneasy lies the head that wears the crown of celebrity. Andy Millman (Ricky Gervais) is back and more miserable than ever in this darker and devastatingly funny finale to the Emmy-winning series. Though his sitcom When the Whistle Blows rates six million viewers, he is, as ever, mindful of the critics' barbs and jealous of colleagues landing the prestige film roles he covets. "I'm not proud of having Britain's No. 1 catchphrase," he grouses (actually, he has sunk to No. 3, now trailing "You are the weakest link, goodbye"). Worse, he has become a right bastard, arrogantly treating crewmembers and his one true friend, Maggie (a heartbreaking Ashley Jensen), like dirt. Andy finally drops his clueless and incompetent agent (series co-creator Stephen Merchant) and quits the show. "Don't worry about me," he proclaims. "The phone won't stop ringing."

Unlike the finale of The Office, this super-duper-sized episode really has no loose ends to tie up. In Andy's humiliating comeuppance (he sinks to portraying an alien on Dr. Who and joins the desperate housemates on Celebrity Big Brother), Gervais has the perfect vessel with which to rail against soul-sucking celebrity, degrading tabloid culture, and "the gutter press." As for Andy and Maggie, those longing for some kind of Tim/Dawn hookup may not get exactly what they want, but they will get what they need in the lovely final scenes. A-listers having a laugh at their own images have always been one of Extras' special treats. The finale features jaw-dropping cameos by Clive Owen and George Michael, performing community service yet again. —Donald Liebenson
Extras : Complete BBC Series 1 & 2 Boxset [2005]
* * * * - Both series of Ricky Gervais and Stephen Merchant’s triumphant Extras are united in this box, and with nothing more than a Yuletide special planned beyond these episodes, it’s a great chance to catch up with this star-packed, offbeat programme.

Unlike their previous The Office, Gervais and Merchant have delivered a less accessible but no less rewarding programme with Extras. It starts with Andy Millman, a ‘background artist’, sitting in the shadows of a variety of different shows, before, in the second series, he gets his own spot in the limelight.

What’s helped characterise the series, of course, has been the continued presence of star names in cameo roles. These range from Hollywood bigshots—Samuel L Jackson, Kate Winslet and Harry Pott.., sorry, Daniel Radcliffe—and continue through to familiar faces from British TV—step forward Les Dennis, Ross Kemp and Barry from EastEnders. Most of the plaudits, though, rightly go in the direction of the splendid Ashley Jensen, who emerges as the most likeable and rounded of all the show’s characters.

There’s little danger, it seems, that Extras will dethrone The Office from the top of its creators’ CVs, but thanks to its strong writing, its measured mix between melancholy and amusement, and some superb performances, it more than carves a very strong niche for itself. —Jon Foster
Family Guy - Season 4
* * * * * It’s criminal, really, given the sheer outright quality of Family Guy that more people aren’t willing to give it a try. For while it tends to draw comparisons to The Simpsons—after all, it is a family-based animated comedy show—Family Guy very much has a voice of its own. It’s also less worried about catering to a family demographic, something the writers have little problem making the most of.

Season four has plenty of evidence for why the show shouldn’t be overlooked. Picking up the story of the family Griffin, this time more of the background characters are allowed into the limelight, and that’s really to the programme’s benefit. That’s not to say the main players are out of sight, and the quite wonderful baby Stewie has plenty of air time, but there’s a real ensemble feel.

The rapid-fire, razor-sharp wit and writing quality that’s become the trademark of the show is present and correct too, and the quality of the episodes on offer put season four up there as not quite the finest series of Family Guy to date, but it nonetheless runs things very close indeed. If you’ve not taken the plunge yet, you’ve really, really been missing out… —Jon Foster
Family Guy - Season 9 [DVD]
Seth McFarlane, Alex Borstein
Family Guy Presents: It's A Trap (DVD + Digital Copy) [2010]
Seth MacFarlane, Alex Borstein
Family Guy Season 5
The debates have already been raging across the Internet over whether Family Guy has peaked, whether it’s the funniest show on television at the moment, and whether it’s better than The Simpsons, or some way behind it. Yet while most will agree that season five isn’t the best the show’s creators have produced, don’t let that blind you to the sheer joy contained within this DVD set.

The highlights of Family Guy for many, of course, are Stewie the ingenious baby and the family’s dog Brian (arguably the sanest one of the lot), and both are in fine form here. And while this series again allows many of the supporting characters a space in the limelight, it’s Stewie and Brian who remain responsible for some of Family Guy’s funniest moments. Bluntly, there are plenty of them.

Still, there’s little getting away from the fact that season five lacks the spark that energised the superb first two or three series, and as a result, there are episodes here that are good where they were once great. There are, still, plenty of examples of the old magic, and it’s still primarily a real pleasure that’s pretty much guaranteed to raise laughs from those who don’t mind their entertainment with a bit of edge. But it’ll be interesting to see where Family Guy goes from here, and whether its real glory days are permanently consigned to the past. —Jon Foster
Family Guy Season 6 [2007]
Family Guy, Series 1 [1999]
Family Guy shouldn't work at all. Even by the witless standards of modern television, it is breathtakingly derivative: does an animated series about the travails of a boorish, suburban yob with a saintly wife, a hopeless son, a clever daughter and a baby sound familiar at all? Even the house in Family Guy looks like it was built by the same architects who sketched the residence of The Simpsons.

However, Family Guy does work, transcending its (occasionally annoyingly) obvious influences with reliably crisp writing and the glorious sight gags contained in the surreal flashbacks which punctuate the episodes. Most importantly, the show's brilliance comes from two absolutely superb characters: Stewie, the baby whose extravagant dreams of tyrannising the world are perpetually thwarted by the prosaic limitations of infanthood, and the urbane family dog Brian—Snoopy after attendance at an obedience class run by Frank Sinatra. Family Guy does not possess the cultural or satirical depth of The Simpsons—very little art in any field does. But it is a genuinely funny and clever programme. —Andrew Mueller
Family Guy, Series 2 [1999]
The second series of Seth MacFarlane's animated sitcom Family Guy continues with its own brand of acerbic pop-culture satire mixed with gleefully tasteless comedy. Even though the chaotic Griffin household bears more than a passing resemblance to The Simpsons, and their neighbours are uncannily like those from King of the Hill, the show's combination of extended flashbacks, surreal fantasy sequences and delightful non sequiturs ("Math, my dear boy, is nothing more than the lesbian sister of biology") refreshes the familiar formula. And any show that features Adam "Batman" West guest starring as the demented Mayor of Quahog must score points for bizarre originality.

Highlights of the 15 episodes here include Peter discovering his feminine side ("I Am Peter, Here Me Roar"), Stewie and Brian on an eventful road trip ("Road to Rhode Island"), Peter annexing his neighbour's pool and inviting the world's dictators round for a barbeque ("E Peterbus Unum") and, as a bonus episode, the irreverent "When You Wish Upon a Weinstein", which was deemed "too offensive for TV". It may be lowbrow scatological farce, but unlike its big-screen live-action cousins (think Farrelly Brothers), Family Guy is always warm-hearted and never vicious.

On the DVD: Family Guy, Series 2 is spread across two discs that boast Dolby 5.1 sound but standard 4:3 picture. There's no "Play All" facility (something else this release has in common with The Simpsons on DVD) and there are no extras other than the "bonus" episode. —Mark Walker
Family Guy, Series 3 [1999]
The third season of Seth MacFarlane's Family Guy finds television's most dysfunctional cartoon family even more animated than usual. As MacFarlane himself noted, he was inspired to go for broke, thinking that the series—already juggled like a hot potato in the US TV schedules (at one point, it aired opposite the mighty Friends)—had been cancelled. Just as This Is Spinal Tap walked the fine line between "clever and stupid", so Family Guy gleefully mocks the line between "edgy and offensive".

Like The Simpsons, Family Guy lends itself to multiple viewings to catch each densely packed episode's way-inside "one-percenter" gags (so-called by the creators because that is the percentage of the audience who will get them), scattershot pop-culture references, surreal leaps and gratuitous pot shots at everyone from, predictably, Oprah, Kevin Costner and Bill Cosby to, unpredictably, Rita Rudner. Also like its Springfield counterpart, this series benefits from a great ensemble voice cast, with surprising contributions from a no-less-stellar roster of guest stars. —Donald Liebenson
The Fifty Foot Detective
John Swartzwelder One of a series of comedy/science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the writer of 59 episodes of The Simpsons.
Futurama - Bender's Big Score (with Limited Edition Lenticular Sleeve)
Dwayne Carey-Hill
Futurama - Bender's Game [2008]
Dwayne Carey-Hill
Futurama: Season 1
Set in the year 3000, Futuramais the acme of sci-fi animated sitcom from Simpsonscreator Matt Groening. While not as universally popular as The Simpsons, Futuramais equally hip and hilarious, thanks to its zippy lateral-thinking contemporary pop cultural references, celebrity appearances (Pamela Anderson and Leonard Nimoy are among a number of guest stars to appear as disembodied heads in jars) and Bender, a distinctly Homer Simpson-esque robot. Part of Futurama's charm is that with decades of sci-fi junk behind us we've effectively been living with the distant future for years and can now have fun with it. Hence, the series stylishly jumbles motifs ranging from Lost in Space-style kitsch to the grim dystopia of Blade Runner. It also bridges the gap between the impossible dreams of your average science fiction fan and the slobbish reality of their comic reading, TV-gawping existence. Groening himself distinguishes his two series thus: "The Simpsonsis fictional. Futuramais real."

The opening series (premiered in 1999) sees nerdy pizza delivery boy Fry transferred to the 31st century in a cryogenic mishap. There, he meets the beautiful, one-eyed Leela (voiced by Married with Children's Katey Sagal) and the incorrigible alcoholic robot Bender. The three of them join Fry's great (x30) nephew Professor Farmsworth and work in his intergalactic delivery service. Hyper-real yet strangely recognisable situations ensue—Fry discovers he is a billionaire thanks to 1,000 years accrued interest, Leela must fend off the attentions of Captain Kirk-like Lothario Zapp Brannigan, and Fry accidentally drinks the ruler of a strange planet of liquid beings. —David Stubbs

On the DVD:As with the earlier Fox release of The Simpsons, Season 1this otherwise excellent three-disc set is let down by clunky menu navigation. There are way too many copyright warnings, no "Play All" facility, and you have to click back and forth to begin each new episode or find the additional features. By way of compensation, the menus look great and there's a goodly selection of extras on each disc. The entertaining commentaries are by Matt Groening and various members of his creative team, including producer David X Cohen and John DiMaggio (the voice of Bender) and Billy West (Fry). There are a handful of deleted scenes for certain episodes, plus the script and storyboard for the very first episode and an interactive stills gallery. The 4:3 picture is pin-sharp as is the Dolby 2.0Surround.—Mark Walker
Futurama: Season 2
Matt Groening's second series of the 31st century sci-fi sitcom Futuramamaintained the high scripting standards of the first as well bringing improved digital animation. Couch potato Fry now seems thoroughly reconciled to his new existence, transported 10 centuries hence to "New New York" and working for Professor Farnsworth's delivery service. He's surrounded by a cast of freaks, including the bitchily cute Amy (with whom he has a romantic brush) and Hermes, the West Indian bureaucrat. Most sympathetic is the one-eyed Leela (voiced by Katey Sagal). Like Lisa Simpson, she is brilliant but unappreciated; she finds solace in her pet Nibbler, a tiny creature with a voracious, carnivorous appetite. By contrast, Bender, the robot, is programmed with every human vice, a sort of metal Homer Simpson with a malevolent streak.

In one of the best episodes, Bender is given a "feelings" chip in order to empathise with Leela after he flushes Nibbler down the toilet. Elsewhere, Fry falls in love with a Mermaid when the team discover the lost city of Atlanta, Fry and Bender end up going to war after they join the army to get a discount on gum, and John Goodman guest stars as Santa Claus, an eight-foot gun-toting robot. Brimful with blink-and-you'll-miss-them hip jokes (such as the sign for the Taco Bellevue hospital) and political and pop satire, Futuramaisn't a stern warning of things to come but rather, as the programme-makers put it, "a brilliant, hilarious reflection of our own materially (ridiculously) over-developed but morally under-developed society."

On the DVD:Futurama's four-disc package presents the show in 4:3 with a Dolby Digital soundtrack. Among the many extras here are audio commentaries, storyboards, trailers, mock ads for "Soylent Chow" and "Human Rinds" and deleted scenes, including one from "Bender Gets Made" in which he seeks to evade the Robot Mafia by changing his identity. —David Stubbs
Futurama: Season 3
Good news, everyone, the third series of Futuramais just as funny as ever—irreverent, boundlessly inventive, warmhearted and chock full of in-jokes, sight gags and fleeting references to all manner of pop culture icons and obscure genre classics. In fact, if the show has a problem it's this very fecundity: it's all so lovingly crafted that scarcely a frame goes by without something both funny and clever going on: when a horse wins a race by a quantum fraction, Prof Farnsworth fulminates "You changed the result by observing it!"

Recurring minor characters (Elzar the chef, the robot mafia, the mutants in the sewers) pop up unexpectedly throughout, providing another wink to dedicated fans; like Red Dwarf, this is a show that loves the genre it sets out to spoof. Shame, then, that the show has had a troubled broadcast history and never quite found the mainstream appeal of its stablemate The Simpsons.

This year, Fry and the Planet Express team find themselves stranded on a planet of unfeasibly large women ("Amazon Women in the Mood"), standing in for psychotic Robo-Santa ("A Tale of Two Santas", with John Goodman reprising his evil robot) and variously falling in love with each other and sundry other humans, aliens, man-bots, fem-bots, virtual reality constructs and even the Planet Express ship itself.

On the DVD:Futurama, Series 3comprises 22 episodes on four discs (see below for complete episode list). As with previous series DVDs the animated menus are a treat and there's a selection of bonus features including deleted scenes, storyboards, selected episode commentaries, animatics, "How to draw" tips and more. Best of all, though, each disc now has a "Play All" facility for the first time. Sheer heaven. —Mark Walker
Futurama: Season 4
No more good news everybody—this fourth series of Futuramais the show's last. By turns frenetic and far-sighted, Matt Groening's futuristic comedy provided belly-laughs for self-confessed SF nerds, but somehow failed to connect with a broader audience, even though it was often funnier and sharper than stablemate The Simpsons. So now bid farewell to the Planet Express team—Fry, Leela, Zoidberg, Bender, Amy, Hermes, Prof Farnsworth—as well as to kindly Kif, cloned Cubert, megalomaniac Mom, mutants in the sewer, the cast of robo-sitcom All My Circuits, swashbuckling space lothario and William Shatner wannabe Zapp Brannigan, Elzar the four-armed chef, and all the other characters that made Futuramasuch a unique experience.

This fourth and final year has all the elements that fans enjoyed so much—but also those elements that partially explain its cancellation. Recurring characters are great if you've watched the show before, as are the in-jokes; and the many parodies of classic science fiction are fine for the initiated, but risk leaving other viewers out in the cold. The show's strengths and perceived weaknesses are exemplified in the episode "Where No Fan Has Gone Before", in which the original cast of Star Trekplay themselves: hilarious for Trekkers, but not really for anyone else. Elsewhere we find Leela discovering her real parents aren't aliens at all but in fact live in the sewers; Kif getting pregnant; Fry discovering the fossilised remains of his faithful pet dog; and Bender being converted to steam power. Despite some ups and downs, it's still the funniest animated show on TV. Those responsible for cancelling it can bite my shiny metal …

On the DVD:Futurama, Series 4DVD box set includes a "Play All" function on each disc. Multifarious extras include cast and crew commentaries, deleted scenes, animatics, galleries and Easter eggs. —Mark Walker
Garth Marenghi's Darkplace
The Gospel of the Flying Spaghetti Monster
Bobby Henderson
Happyslapped by a Jellyfish: The Words of Karl Pilkington
Karl Pilkington
Have I Got News For You - Best Of The Guests - Vol. 2 [1990]
Ben Fuller John F.D. Northover Paul Wheeler (IV)
How I Conquered Your Planet
John Swartzwelder A comedy science fiction novel, featuring slow-witted detective Frank Burly. By John Swartzwelder, the author of "The Time Machine Did It", "Double Wonderful", and 59 episodes of The Simpsons.
How Mumbo-jumbo Conquered the World: A Short History of Modern Delusions
Francis Wheen
How to Survive a Robot Uprising
Daniel H. Wilson
Idiocracy [2006]
The Inbetweeners - Series 1-2 - Complete [DVD] [2008]
Joe Thomas, Simon Bird, Gordon Anderson
The Incredibles (2 Discs) [2004]
After creating the last great traditionally animated film of the 20th century, The Iron Giant, filmmaker Brad Bird joined top-drawer studio Pixar to create this exciting, completely entertaining computer-animated film. Bird gives us a family of "supers," a brood of five with special powers desperately trying to fit in with the 9-to-5 suburban lifestyle. Of course, in a more innocent world, Bob and Helen Parr were superheroes, Mr. Incredible and Elastigirl. But blasted lawsuits and public disapproval forced them and other supers to go incognito, making it even tougher for their school-age kids, the shy Violet and the aptly named Dash. When a stranger named Mirage (voiced by Elizabeth Pena) secretly recruits Bob for a potential mission, the old glory days spin in his head, even if his body is a bit too plump for his old super suit.

Bird has his cake and eats it, too. He and the Pixar wizards send up superhero and James Bond movies while delivering a thrilling, supercool action movie that rivals Spider-Man 2for 2004's best onscreen thrills. While it's just as funny as the previous Pixar films, The Incredibleshas a far wider-ranging emotional palette (it's Pixar's first PG film). Bird takes several jabs, including some juicy commentary on domestic life ("It's not graduation, he's moving from the fourth to fifth grade!").

The animated Parrs look and act a bit like the actors portraying them, Craig T. Nelson and Holly Hunter. Samuel L. Jackson and Jason Lee also have a grand old time as, respectively, superhero Frozone and bad guy Syndrome. Nearly stealing the show is Bird himself, voicing the eccentric designer of superhero outfits ("No capes!"), Edna Mode.

Nominated for four Oscars, The Incredibleswon for Best Animated Film and, in an unprecedented win for non-live-action films, Sound Editing.

The Presentation
This two-disc set is (shall we say it?), incredible. The digital-to-digital transfer pops off the screen and the 5.1 Dolby sound will knock the socks off most systems. But like any superhero, it has an Achilles heel. This marks the first Pixar release that doesn't include both the widescreen and full-screen versions in the same DVD set, which was a great bargaining chip for those cinephiles who still want a full-frame presentation for other family members. With a 2.39:1 widescreen ratio (that's big black bars, folks, à la Dr. Zhivago), a few more viewers may decide to go with the full-frame presentation. Fortunately, Pixar reformats their full-frame presentation so the action remains in frame.

The Extras
The most-repeated segments will be the two animated shorts. Newly created for this DVD is the hilarious "Jack-Jack Attack," filling the gap in the film during which the Parr baby is left with the talkative babysitter, Kari. "Boundin'," which played in front of the film theatrically, was created by Pixar character designer Bud Luckey. This easygoing take on a dancing sheep gets better with multiple viewings (be sure to watch the featurette on the short).

Brad Bird still sounds like a bit of an outsider in his commentary track, recorded before the movie opened. Pixar captain John Lasseter brought him in to shake things up, to make sure the wildly successful studio would not get complacent. And while Bird is certainly likable, he does not exude Lasseter's teddy-bear persona. As one animator states, "He's like strong coffee; I happen to like strong coffee." Besides a resilient stance to be the best, Bird threw in an amazing number of challenges, most of which go unnoticed unless you delve into the 70 minutes of making-of features plus two commentary tracks (Bird with producer John Walker, the other from a dozen animators). We hear about the numerous sets, why you go to "the Spaniards" if you're dealing with animation physics, costume problems (there's a reason why previous Pixar films dealt with single- or uncostumed characters), and horror stories about all that animated hair. Bird's commentary throws out too many names of the! animators even after he warns himself not to do so, but it's a lively enough time. The animator commentary is of greatest interest to those interested in the occupation.

There is a 30-minute segment on deleted scenes with temporary vocals and crude drawings, including a new opening (thankfully dropped). The "secret files" contain a "lost" animated short from the superheroes' glory days. This fake cartoon (Frozone and Mr. Incredible are teamed with a pink bunny) wears thin, but play it with the commentary track by the two superheroes and it's another sharp comedy sketch. There are also NSA "files" on the other superheroes alluded to in the film with dossiers and curiously fun sound bits. "Vowellet" is the only footage about the well-known cast (there aren't even any obligatory shots of the cast recording their lines). Author/cast member Sarah Vowell (NPR's This American Life) talks about her first foray into movie voice-overs—daughter Violet—and the unlikelihood of her being a superhero. The feature is unlike anything we've seen on a Disney or Pixar DVD extra, but who else would consider Abe Lincoln an action figure? —Doug Thomas
The Junk Food Companion: The Complete Guide to Eating Badly
Eric Spitznagel
Juno [2007]
Jason Reitman Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a pregnant teenage girl who wants to give her baby up for adoption. Social misfit Juno (Ellen Page, Hard Candy, X-Men: The Last Stand) protects herself with a caustic wit, but when she gets pregnant by her friend Paulie (Michael Cera, Superbad), Juno finds herself unwilling to terminate the pregnancy. When she chooses a couple who place a classified ad looking to adopt, Juno gets drawn further into their lives than she anticipated.

But Juno is much more than its plot; the stylised dialogue (by screenwriter Diablo Cody) seems forced at first, but soon creates a richly textured world, greatly aided by superb performances by Page, Cera, Jennifer Garner and Jason Bateman as the prospective parents, and J.K. Simmons (Spider-Man) and Allison Janney as Juno's father and stepmother. Director Jason Reitman (Thank You For Smoking) deftly keeps the movie from slipping into easy, shallow sarcasm or foundering in sentimentality. The result is smarter and funnier than you might expect from the subject matter, and warmer and more touching than you might expect from the cocky attitude. Page's performance is deceptively simple; she never asks the audience to love her, yet she effortlessly carries a movie in which she's in almost every scene. That's star power. — Bret Fetzer, Amazon.com
Karlology
Karl Pilkington
The Last Detective Alive
John Swartzwelder One of a series of comedy science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the writer of 59 episodes of The Simpsons.
A Long Way Down
Nick Hornby
The Man Who Was Thursday: A Nightmare (Twentieth Century Classics)
G.K. Chesterton
May Contain Nuts
John O'Farrell
The Million Dollar Policeman
John Swartzwelder One of a series of comedy/science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the writer of 59 episodes of The Simpsons.
The Mitchell And Webb Situation
Monsters, Inc. [Blu-ray/DVD Combo] [Import]
Enjoy Monsters inc, includes coverart in Spanish, however movie plays in both Spanish and English Two Disc Blu-ray+ DVD copy of Film Monsters, Inc. is a factory which sends monsters around the world to scare kids who are trying to sleep. It's nothing personal, in fact the screams are used to power Monstropolis where the monsters live. This job isn't easy for the monsters, who believe children are toxic. James P. Sullivan (John Goodman), a large woolly blue monster, is one of the company's top scarers. Teamed up with a troublesome green one-eyed monster named Mike Wazowski (Billy Crystal), the two roommates and best friends are finding that today's kids are not as easily scared as they used to be. One night Sulley accidentally lets a young girl named Boo into the monster world. Now Sulley and Mike must risk their own safety as they race to get Boo back into the human world without letting anyone know of her existence.
Monty Python: The Movies (Box Set)
This Monty Python Movie Box Set contains all four Python movies: And Now for Something Completely Different (1971), Monty Python and the Holy Grail (1974)—the two-disc set—Monty Python's Life of Brian—including a 50-minute documentary—and Monty Python's The Meaning of Life.
Mort: Discworld Novel 4: A Discworld Novel
Sir Terry Pratchett Death comes to us all. When he came to Mort, he offered him a job. After being assured that being dead was not compulsory, Mort accepted. However, he soon found that romantic longings did not mix easily with the responsibilities of being Death's apprentice.
Neither Here Nor There: Travels in Europe
Bill Bryson
Notes from a Big Country
Bill Bryson
The Office - Series 1 and 2 [2001]
Ricky Gervais Stephen Merchant It feels both inaccurate and inadequate to describe The Office as a comedy. On a superficial level, it disdains all the conventions of television sitcoms: there are no punch lines, no jokes, no laugh tracks and no cute happy endings. More profoundly, it's not what we're used to thinking of as funny. Most of the fervently devoted fan base that the programme acquired watched with a discomfortingly thrilling combination of identification and mortification. The paradox is that its best moments are almost physically unwatchable.

Set in the offices of a fictional Slough paper merchant, The Office is filmed in the style of a reality television programme. The writing is subtle and deft, the acting wonderful and the characters beautifully drawn: the cadaverous team leader Gareth, a paradigm of Andy McNab's readership; the monstrous sales rep, Chris Finch; and the decent but long-suffering everyman Tim, whose ambition and imagination have been crushed out of him by the banality of the life he dreams uselessly of escaping. The show is stolen, as it was intended to be, by insufferable office manager David Brent, played by cowriter Ricky Gervais. Brent will become a name as emblematic for a particular kind of British grotesque as Alan Partridge or Basil Fawlty, but he is a deeper character than either. Partridge and Fawlty are exaggerations of reality, and therefore safely comic figures. Brent is as appalling as only reality can be. —Andrew Mueller

On the DVD: Series 1 is tastefully packaged as a two-disc set appropriately adorned with John Betjeman's poem "Slough". The special features occupy the second disc and consist of a laid-back 39-minute documentary entitled "How I Made The Office by Ricky Gervais", with cowriter Stephen Merchant and the cast contributing. Here we discover that Gervais spends his time on set "mucking around and annoying people", and that actress Lucy Davis (Dawn) is the daughter of Jasper Carrott; as well as seeing parts of the original short film and the original BBC pilot episode; plus we get to enjoy many examples of the cast corpsing throughout endless retakes. There are also a handful of deleted scenes, none of which were deleted because they weren't funny.

Series 2 is a single-disc release, but the extra features are enjoyable nonetheless. Ricky Gervais and Stephen Merchant feature in a gleefully shambolic video diary—highlights of which include Gervais flicking elastic bands at his cowriter and taping their editor to his swivel chair. The ubiquitous Gervais also mockingly introduces some outtakes (mostly of him corpsing throughout dozens of takes) and a series of deleted scenes, notably of Gareth arriving in his horrendous cycle shorts. —Mark Walker
The Office - The Christmas Specials [2003]
The two-part conclusion to The Office bids farewell to David Brent and his long-suffering co-workers in a surprisingly poignant not to say dignified manner. Supposedly accompanied by the fly-on-the-wall documentary crew three years after his highly undignified exit from Slough-based paper merchants Wernham Hogg, the first part reveals Brent as a travelling salesman by day and D-list "celebrity" by night, enduring humiliating club appearances organised by his clueless manager. But Brent can't keep away from his old stamping-ground in Slough, especially with the imminent prospect of the annual Christmas party. As much to spite suave rival Neil as anything else, Brent is on an agonisingly painful hunt for a date to bring along.

Back at Wernham Hogg, lovelorn Tim has to endure not only the officious behaviour of Gareth, now his manager, but also a cheerless existence bereft of Dawn, who is living in Florida with boorish fiancé Lee. Matters are brought to a head for all concerned—including Lee and Dawn, flown over specially for the occasion—when they finally gather in the office for the party.

As ever the script is full of priceless one-liners (witness big Keith's chat-up spiel, as he promises "at least one orgasm" to any woman), and the show is peppered with those direct appeals to camera (Tim's weary "I don't believe he just said that" look, Brent's desperate self-justificatory "Eh?"), as well as achingly effective silences that simultaneously enhance the fly-on-the-wall conceit and heighten the comic effect. Without descending into the sentimental or the trite, somehow The Office closes for business on a genuinely heartwarming note.

On the DVD: This single disc has good, if unexceptional, bonus features. There's a behind-the-scenes documentary in similar format to those on the previous releases, a commentary from Stephen Merchant and Ricky Gervais on Episode 2, a funny and deservedly self-congratulatory featurette on the Golden Globe Awards ceremony, the full video of David Brent's single "If You Don't Know Me By Now" plus a recording session for "Freelove Freeway" (with Noel Gallagher on backing vocals). —Mark Walker
Office Space [1999]
Mike Judge Office Spaceis a movie for anyone who's ever spent eight hours in a "Productivity Bin", had to endure a smarmy, condescending boss, had worries about layoffs, or just had the urge to demolish a temperamental printer or fax machine. Peter (Ron Livingston) spends the day doing stupefyingly dull computer work in a cubicle. He goes home to an apartment sparsely furnished by IKEA and Target, then starts for a maddening commute to work again in the morning.

His co-workers in the cube farm are an annoying lot, his boss is a snide, patronising jerk, and his days are consumed with tedium. In desperation, he turns to career hypnotherapy, but when his hypno-induced relaxation takes hold, there's no shutting it off. Layoffs are in the air at his corporation and with two colleagues (both of whom are slated for the chute) he devises a scheme to skim funds from company accounts. The scam soon snowballs, however, throwing the three into a panic until the unexpected happens and saves the day.

A little bit like a US version of The Office, director Mike (King of the Hill) Judge's debut movie is a spot-on look at work in corporate America circa 1999. With well-drawn characters and situations instantly familiar to the white-collar milieu, he captures the joylessness of many a cube denizen's work life perfectly. Jennifer Aniston, a waitress at Chotchkie's, a generic beer-and-burger joint, plays Peter's love interest and Diedrich Bader has a minor but hilarious turn as Peter's moustached, long-haired, drywall-installin' neighbour. —Jerry Renshaw
Operation Good Guys - Complete Series 1 To 3
Peep Show - Series 6 - Complete [DVD] [2009]
David Mitchell, Robert Webb
Peep Show - Series 7 - Complete [DVD] [2010]
David Mitchell, Robert Webb
Peep Show Series 1
Peep Show Series 2
Peep Show Series 3
Peep Show Series 4
Becky Martin
Peep Show Series 5 [2008]
Becky Martin The multi award-winning and critically acclaimed comedy returns to DVD for a fifth series. Peep Show continues to delve into the innermost thoughts of Mark (David Mitchell) - the conventional one seething with inner rages and desires - and Jeremy (Robert Webb) - the loose cannon full of expressed rages and desires - but seething with even more rage on the inside.

Mark and Jeremy are entering their 30s with failed marriages behind them, few prospects, and a sense of impending crisis. Time is running out for them to sort out their lives. Jeremy's mother appears on the scene and it soon becomes clear why he's ended up as he is. Mark goes speed dating, and discovers money can buy you love. Jeremy and Superhans (Matt King) play at a Christian Rock Festival; the flat suffers multiple burglaries and the boys endure their worst ever night out - at the theatre.

Extras:
BEHIND THE SCENES with Sam Bain and Jesse Armstrong guiding you through the production process, from how they get ideas for the series, read throughs and rehearsals with cast, to shooting on set and on location to the final product!

PEEP SHOW RELATIONSHIP TREE - your guide to whose slept with whom throughout all the Peep Show series'… this is a trip through Mark and Jeremy's love lives throughout series 1-5, with clips and graphics to explain the various connections!

DELETED SCENES

SOPHIE'S POV - existing scenes from episode 6 written by Sam and Jesse from Sophie's point of view.
Ratatouille [2007]
Brad Bird, Jan Pinkava As good a film as Pixar has ever put out, Ratatouille is a frantic, innovative movie, boasting some of the finest quality animation ever put on the screen.

Ratatouille tells the story of wannabe-chef Remy The Rat, who becomes drawn into the mantra of legendary cook Gusteau, that anyone can cook. The deceased Gusteau's ghostly image appears to Remy, and guides him to his restaurant, whose standards have been slipping since his death. Remy, through the manipulation of a lowly restaurant worker called Linguini, soon starts secretly cooking the food, and this unusual set up proves to be a trove of treasures that Pixar carefully picks through.

Ratatouille's trick is to tie its cutting edge animation techniques to old-school essentials. At times harking back to the frenetic style you'd expect of Chuck Jones, it threads an original narrative through its story, which itself is packed with memorable characters (none more so than Peter O'Toole's superbly-voiced restaurant critic). It perhaps runs a little too long, but it's so well-written and so lavishly entertaining that it's a churlish complaint to have.

For in an era of cynically-produced family movies, Ratatouille is really something special. With an appeal that spreads across generations, and a quality that puts it right up there with Pixar's finest, it's an outstanding piece of cinema, and one set to be enjoyed for many, many years. Unmissable. —Simon Brew
Red Dwarf: Series 3
Ed Bye The third series of Red Dwarfintroduced some radical changes—all of them for the better—but the scripts remained as sharp and character-focussed as ever, making this a firm candidate for the show's best year. Gone were the dull metallic grey sets and costumes, gone too was Norman Lovett's lugubrious Holly, replaced now by comedienne Hattie Hayridge, who had previously played Hilly in the Series 2 episode "Parallel Universe". New this year were custom-made costumes, more elaborate sets, the zippy pea-green Starbug, bigger special effects and the wholly admirable Robert Llewellyn as Kryten.

The benefits of the show's changes are apparent from the outset, with the mind-bending hilarity of "Backwards", in which Kryten and Rimmer establish themselves as a forwards-talking double-act on a reverse Earth. After a modest two-hander that sees Rimmer and Lister "Marooned", comes one of the Dwarf's most beloved episodes, "Polymorph". Here is the ensemble working at its best, as each character unwittingly has their strongest emotion sucked out of them. Lister loses his fear; Cat his vanity; Kryten his reserve; and Rimmer his anger ("Chameleonic Life-Forms. No Thanks"). "Body Swap" sees Lister and Rimmer involved in a bizarre attempt to prevent the ship from self-destructing. "Timeslides" delves deep into Rimmer's psyche as the boys journey haphazardly through history. Finally, "The Last Day" shows how completely Kryten has been adopted as a crewmember, when his replacement Hudzen unexpectedly shows up.

On the DVD:Red Dwarf, Series 3two-disc set maintains the high standard of presentation and wealth of extra material established by its predecessors. Among other delights there are the usual "Smeg Ups" and deleted scenes, plus another fun commentary with the cast. There's a lengthy documentary, "All Change", specifically about Series 3, a tribute to costume designer Mel Bibby, Hattie Hayridge's convention video diary, and—most fascinating—the opportunity to watch "Backwards" played forwards, so you can finally understand what Arthur Smith's backwards-talking pub manager actually says to Rimmer and Kryten in the dressing room. —Mark Walker
Red Dwarf: Series 4
Ed Bye By the end of this fourth year, Red Dwarfhad completed its metamorphosis from a modest studio-bound sitcom with a futuristic premise to a full-blown science-fiction series, complete with a relatively lavish (by BBC standards) special-effects budget, more impressive sets and more location shooting. Despite the heavier emphasis on SF, the character-based comedy remained as sharp as ever. Witness the Cat's reaction to Lister's pus-filled exploding head; Kryten's devastatingly sarcastic defence of Rimmer; or, the classic scene that opens the series, Lister teaching Kryten to lie.

In "Camille", Robert Llewellyn's real-life wife plays a female mechanoid who transforms into something else entirely, as does the episode, which by the end becomes a delightful skit on Casablanca. "DNA" comes over all SF, with lots of techno-speak about a matter transmogrifier and a RoboCophomage—but in typical Dwarffashion, turns out to be all about curry. "Justice" sees Rimmer on trial for the murder of the entire crew, while Lister attempts to evade a psychotic cyborg. Holly gets her IQ back in "White Hole", but wastes time debating bread products with the toaster. "Dimension Jump" introduces dashing doppelganger Ace Rimmer for the first time—he was to return in later series, with diminishingly funny results. Here his appearance is all the better for its apparent improbability. Finally, "Meltdown" goes on location (to a park in North London) where waxdroids of historical characters (played by a miscellaneous selection of cheesy lookalikes) are at war. Only intermittently successful, this episode is really memorable for Chris Barrie's tour-de-force performance, as Rimmer becomes a crazed, Patton-esque general.

On the DVD:Red Dwarf, Series 4, like its predecessors, comes as a two-disc set complete with full cast commentary for every episode, an extensive retrospective documentary (mostly featuring the cast reminiscing), deleted scenes and lots of other fun bits of trivia. —Mark Walker
Red Dwarf: Series 5
It's brown alert time all over again for Red Dwarffans with the fifth season of the much-loved sci-fi/comedy series. Episode-wise, it's business as usual for the crew of the Red Dwarf—that is, if one considers encountering an alien squid that squirts a despair-inducing hallucinogen ("Back to Reality", later voted the best episode of the series by viewers and Stephen Hawking!), evil (and not particularly bright) versions of the crew ("Demons and Angels"), a virus that causes insanity ("Quarantine"), and a trip to a moon created entirely from the mind of the insufferable hologram Rimmer ("Terrorform") business as usual.

In short, it's six hilarious episodes, highlighted by the typically terrific writing of creators Rob Grant and Doug Naylor (who also direct two episodes). As with the previous deluxe DVD releases, Series Vfeatures a wealth of supplemental features, the most intriguing of which is a look at the failed attempt to recreate the show in America (with U.K. cast member Robert Llewellyn and Star Trek: Deep Space Nine's Terry Farrell as Cat). Also included are cast and fan commentaries, featurettes on the show's "science" and villains, special effects tests, blooper reels, and a sampling of Grant and Naylor's BBC 4 radio sketch "Dave Hollins, Space Cadet", which served as the inspiration for Red Dwarf. Dedicated DVD owners will also be rewarded by Easter eggs lurking throughout the menus. —Paul Gaita
Red Dwarf: Series 6
Series 6 is possibly the most eagerly awaited of the Red DwarfDVD sets, due to its acclaimed third episode, "Gunmen of the Apocalypse", which earned the program an International Emmy Award in 1994. However, the five other episodes in the series have their own share of absurd laughs, and the two-disc set features enough supplemental features to keep even the most demanding RDfan happy. The crux of series 6 is that the Red Dwarfhas been stolen (no thanks to Lister, who can't remember where he left it), and the crew must recover it; their pursuit brings them in contact with brain-consuming aliens ("Psirens", with guest star Jenny Agutter), a polymorph that turns Rimmer and Cat into their alternate identities from Series V ("Emohawk—Polymorph II"), the Four Horsemen of the Apocalypse tricked out as gunslingers ("Gunmen of the Apocalypse"), an army of Rimmer clones ("Rimmerworld"), and finally, their own future selves, who turn out to be particularly awful (worse than the present-day ones, that is), and cause a cliffhanger ending that just might spell the end for the Red Dwarf crew.... In short, series 6 more than earns its popular status among Red Dwarf's fanbase, thanks to its sharp writing (sadly, it would be the last series to feature scripts by co-creator Rob Grant) and energetic performances. And the double-disc set matches the quality of the programs with some terrific extras, including commentaries by the RD crew and fans (the latter on "Gunmen of the Apocalypse" only), and featurettes on composer Howard Goodall and series director Andy de Emmony; these are rounded out by the usual collections of "smeg-ups" (bloopers), deleted scenes, behind-the-scenes footage, and another episode of the "Dave Hollins, Space Cadet" radio sketch that inspired the show. And again, the most patient of viewers will find Easter eggs on the menus (happy hunting). —Paul Gaita
Sammy's Hill
Kristin Gore
Shakespeare Wrote for Money
Nick Hornby
Shrek 1 & 2 Box Set
Both of the hit animated movies in one package.

Full of verve and wit, Shrek is a computer-animated adaptation of William Steig's delightfully fractured fairy tale. Our title character (voiced by Mike Myers) is an agreeable enough ogre who wants to live his days in peace. When the diminutive Lord Farquaad (John Lithgow) evicts local fairy tale creatures (including the now-famous Seven Dwarfs, Pinocchio and the Gingerbread Man), they settle in the ogre's swamp and Shrek wants answers from Farquaad. A quest of sorts starts for Shrek and his new pal, a talking donkey (Eddie Murphy), where battles have to be won and a princess (Cameron Diaz) must be rescued from a dragon lair in a thrilling action sequence. The story is stronger than most animated fare but it's the jokes that make Shrek a winner. The PG rating is stretched when Murphy and Myers hit their strides. The mild potty humour is fun enough for the 10-year-old but will never embarrass their parents. Shrek is never as warm and inspired as the Toy Story films, but the realistic computer animation and a rollicking soundtrack keeps the entertainment in fine form. Produced by DreamWorks, the film also takes several delicious stabs at its cross-town rival, Disney. —Doug Thomas

In Shrek 2, the newlywed Shrek and Princess Fiona are invited to Fiona's former kingdom, Far Far Away, to have their marriage blessed by Fiona's parents—which Shrek thinks is a bad, bad idea, and he's proved right: the parents are horrified by their daughter's transformation into an ogress, a fairy godmother wants her son Prince Charming to win Fiona, and a feline assassin is hired to get Shrek out of the way. The computer animation is more detailed than ever, but it's the acting that make the comedy work—in addition to the return of Mike Myers, Eddie Murphy, and Cameron Diaz, Shrek 2 features the flexible voices of Julie Andrews, John Cleese and Antonio Banderas, plus Jennifer Saunders as the gleefully wicked fairy godmother. —Bret Fetzer
The Simpsons - Season 7
One of the hallmark seasons of The Simpsons, season 7 features some of the strongest episodes produced during the show’s run. Considering that this is The Simpsons we’re talking about here, that’s saying a lot, but this collection deserves the accolades.

Broadcast in 1995, season seven features several signature episodes, including Part II of "Who Shot Mr. Burns," "Bart Sells His Soul," and "Two Bad Neighbors" where former President George Herbert Walker Bush moves into the neighborhood (an episode gamely playing on the former President’s open dislike for the show). One of The Simpsons’s most definitive episodes, "Treehouse of Horror VI" famously broke the third wall by using the then-groundbreaking CGI technology to render Homer first in a 3-D world, then in real life, (despite the evolution in his form, he naturally ends up in an erotic cake shop). As the producers openly note on the commentary, it was a big deal at the time, and super expensive, which is why they could only do a few minutes of footage in CGI (some fans will particularly enjoy the revealing commentary on this one, as the producers explain the many visual puns and math jokes appearing in the background of the 3-D world). It’s a great example of how The Simpsons continued to play with its visual style and take creative risks years into its run. In fact, one of the best episodes on this collection, "The Simpsons 138th Episode Spectacular" proves just how far the look and style of the show really came during that time. Hosted by actor Troy McClure (voiced by the late comic great Phil Hartman), it presents never-before-seen outtakes and original footage from the show’s debut days on The Tracey Ullman Show, while taking a few self-referential digs at show creators Matt Groening, James Brooks, and Sam Simon. Other gems include "Homerpalooza" where Homer thanks guests The Smashing Pumpkins for their gloomy music because it has made his kids "stop wishing for a future I can’t possibly provide," and "Bart the Fink" where Bart inadvertently gets Krusty the Klown busted for tax "avoision."

Along with the 25 episodes there are extensive commentaries, featurettes, and deleted scenes all of which add immense value to the set and will give die-hard fans another excuse to spend more hours in front of the TV. It’s another benchmark collection from a show that, up to this point, doesn’t seem to know its own limits. —Dan Vancini
The Simpsons - Season 8
The Simpsons - Season 10 [1998]
Jim Reardon Pete Michels Even as we arrive at season ten, these Simpsons DVD boxsets remain irresistible. Put together comprehensively and with real care, this latest release upholds the standard for terrific (and many) DVD extras to back up and complement the episodes themselves.

Season ten of The Simpsons features 23 episodes, spread across four discs, and there are some belters contained within. "Lard Of The Dance", for instance, finds Homer and Bart trying to steal and sell grease, against the backdrop of Lisa’s school dance. "Lisa Gets An ‘A’" meanwhile sees the Simpsons’ eldest daughter getting addicted to videogames, while "Mayored To The Mob" throws in Mark Hamill and a science fiction convention. Quite brilliant stuff.

The lazy argument though is that by season ten, The Simpsons was on the slide, but there’s plenty of compelling evidence in this boxset to counter that. Sure, not every episode’s a classic, but there are a lot of laughs and much entertainment to be gleamed here.

Furthermore, when you factor in the commentaries, deleted scenes, sketch gallery and look at the upcoming film, once again the stops have been pulled off for a distinguishable TV collection. Again, The Simpsons—in more than one sense—sets the standard that the others look up to. —Jon Foster
Simpsons - Season 11 - Complete [DVD]
David Silverman, Steven Dean Moore, Mark Kirkland, Bob Anderson, Mike B. Anderson
The Simpsons - Season 12 - Complete [DVD]
Dan Castellaneta, Julie Kavner Season 12 of The Simpsons flies in the face of the contention that it’s the earlier runs of the show where you’ll find the gold. Granted, it’s been tough to keep the standard up to the levels of the show at its finest, but here we find some majestic and inspired Simpsons moments.

Season 12 doesn’t have, it should noted, the calibre of guest voice star of previous runs. That said, it’s still the core adventures of Homer, Maggie, Lisa, Marge and Bart that form the heart of the fun. Particular favourite highlights of The Simpsons’ twelfth season include Lisa’s relationship with the tree hugger, Homer’s brand new gossip website, the moment where Homer suddenly (and temporarily!) gets a burst of intelligence, and the wonderfully titled Worst Episode Ever. There’s also the very welcome return of Sideshow Bob, as voiced by Kelsey Grammar.

The writing of The Simpsons, as evidenced here, remains witty and sharp, and while perhaps there aren’t so many of the belly laughs of the earlier years, season 12 still more than justifies its purchase price. At least half the episodes here are ones you’ll be looking, we’d suspect, to watch again. Factor in too the usual high quality selection of extras, and long after most series have folded, we continue to find The Simpsons on fine form. —Jon Foster
The Simpsons - Series 6 (Limited Edition Homer Boxset)
The classic to clunker ratio is still extraordinarily high, though The Simpsons' sixth season could give some devoted viewers pause. The show that takes cheeky delight in mooning television convention gives us "Another Simpsons Clip Show" and its first season-ending cliffhanger, "Who Shot Mr. Burns?" And, as does Bart in "A Star Is Burns," we should all feel a little dirty at the "cheap cartoon crossover" appearance of Jay Sherman (Jon Lovitz), designed to give a boost to the ill-fated animated series The Critic. But this is just beard-stroking tongue-clucking regarding a season that delivered episodes that rank in the hallowed The Simpsons pantheon, among them, "Homer Badman," in which lust for a gummy Venus de Milo, peeled from the behind of an unwitting babysitter, makes Homer the object of feminist protest and tabloid TV fodder, and "Homer the Great," in which Homer is discovered to be the Chosen One to lead the secret society, "The Stonecutters" ("Who holds back the electric car/Who made Steve Guttenberg a star?/We do!"). Several episodes take their inspiration from classic films and books: Hitchcock's Rear Window ("Bart of Darkness"); Michael Crichton's Westworld and Jurassic Park ("Itchy and Scratchy Land"); and Stephen King and Ray Bradbury ("Treehouse of Horror V").

This season's roster of guest voices is also especially impressive, including Winona Ryder as "Lisa's Rival," Meryl Streep as Rev. Lovejoy's bad-seed daughter ("She's like a Milk Dud," a smitten Bart laments. "Sweet on the outside, poison on the inside"), the late Anne Bancroft in "Fear of Flying"; Patrick Stewart in "Homer the Great"; Mel Brooks and Susan Sarandon in "Homer vs. Patty and Selma," and Mandy Patinkin as Lisa's future fiancée in the surprisingly moving "Lisa's Wedding." There has, of late, been a feud a-brewin' between fans of The Simpsons and Family Guy. Which show is funnier? Has The Simpsons lost it? Is Family Guy a Simpsons-wannabe? Hey; Can't we all just laugh along? Best to just marvel at another exemplary Simpsons season that, to quote Homer in "Lisa's Rival," delivers it all: "The terrifying lows, the dizzying highs, the creamy middles." —Donald Liebenson, Amazon.com
The Simpsons Movie [2007]
David Silverman Racking up impressive box office numbers right across the globe, the arrival of The Simpsons Movie onto the big screen proved, for many, to be more than worth the wait. But with its DVD release, there’s a compelling argument that Springfield’s finest have come back to their natural home.

The film itself is primarily Homer-centred, with the head of The Simpsons family seemingly consigning Springfield to certain doom when he dumps his waste where he shouldn’t. But, in the true spirit of the show, the plot takes a relative back seat to the antics of America’s first family.

And it’s those antics that offer the film’s gold. As you’d hope, it boasts several laugh-out-loud moments, from visual gags (the rock and hard place being a favourite) through to the by-now infamous Spider-pig. There’s not quite enough material to keep the chuckle counter going for the full duration of The Simpsons Movie, and the criticism that it’s effectively three episodes strung together has some truth to it. But you’d still be hard-pushed to complain for one key reason: The Simpsons Movie is grand entertainment, with plenty of rewatch potential.

So while you can add us to the queue of people who wanted more Mr Burns, and while it doesn’t quite measure up to some of the show’s best episodes, The Simpsons Movie still delivers, and does it with some quality. And Spider-pig is a work of genius…—Jon Foster
The Simpsons: Complete Season 1
David Silverman Wesley Archer From practically the first episode, broadcast in 1989, The Simpsons impacted on planet TV like a giant multi-coloured meteor. With a claim to being the defining pop cultural phenomenon of the 1990s—hip, fast, sharp and primary—there was nothing even in rock & roll to match this. The Simpsons is possibly the greatest sitcom ever made. Although the animation was initially primitive, never before had cartoon characters been so well drawn. There had been loveable middle-aged layabouts on TV before, but Homer Simpson successfully stole their crown and out-slobbed them all in every department ("The guys at the plant are gonna have a field day with this," he grumbles in "Call of The Simpsons" as he watches scientists on a TV news item who can't decide whether he is incredibly dense or a brilliant beast). However, in this first series he isn't quite yet the bloated man-child he would become in later series; instead he's a growling patriarch with a Walter Matthau-type voice. His sensible half Marge's croak, meanwhile, has yet to settle down, while the vast cast of minor Springfield characters have yet to find their place. Bart, however, was a smash from the start: dumb as Homer but spiky-haired and resourceful, he sets out his manifesto in "Bart the Genius"; while "Moaning Lisa" spotlights his over-achieving sister and is a good early example of the series' clever handling of melancholy bass notes.

Throughout its life there's always been confusion as to whether The Simpsons is a show for kids or adults, but with allusions in these first 13 episodes to Kubrick, Diane Arbus, Citizen Kane and (in a very satisfyingly anti-French episode) Manon des Sources, it should already have been clear that this was a programme for all ages and all IQs from 0 to 200. Dysfunctional they may have been, but the Simpsons stuck together, and audiences stuck with them into the 21st century. —David Stubbs

On the DVD: The packaging is good but the 13 episodes are spread very thinly here, with just five each on discs one and two . The commentary track is intermittently interesting though a tad repetitive, as creator David Groening is joined by various other members of the team. The third disc has some neat extra stuff, including outtakes, the original Tracey Ullman Show shorts and a five-minute BBC documentary, but is again fairly brief. The menu interfaces are pretty clunky, annoyingly forcing you to watch endless copyright warnings after each episode and with no facility to "play all". The content is wonderful, of course, but three discs looks like overkill. —Mark Walker
The Simpsons: Complete Season 2
First aired in 1990-91, the second series of The Simpsons proved that, far from being a one-joke sitcom about the all-American dysfunctional family, it had the potential to become a whole hilarious universe. The animation had settled down (in the first series, the characters look eerily distorted when viewed years later), while Dan Castellaneta, who voiced Homer, decided to switch from a grumpy Walter Matthau impression to a more full-on, bulbous wail. The series' population of minor characters began to grow with the inclusion of Dr Hibbert, McBain and attorney Lionel Hutz, while the writers became more seamless in their ability to weave pastiche of classic movies into the plot lines. While relatively "straight" by later standards (the surreal forays of future seasons are kept in check here), Season Two contains some of the most memorable episodes ever made, indeed some of the finest American comedy ever made.

These include "O Brother, Where Art Thou?", in which Homer is reunited with, and ruins the business of, his long-lost brother ("He was an unbridled success—until he discovered he was a Simpson"), "Dead Putting Society", in which Homer lives out his rivalry with neighbour Ned Flanders through a crazy-golf competition between the sons ("If you lose, you're out of the family!") and one of the greatest ever episodes, "Lisa's Substitute", which not only features poor little Lisa's crush on a supply teacher voiced by Dustin Hoffman but also Bart's campaign to become class president. "A vote for Bart is a vote for anarchy!", warns Martin, the rival candidate. By way of a retort, Bart promises faithfully, "A vote for Bart is a vote for anarchy!". —David Stubbs

On the DVD: The Simpsons, Season 2, like its DVD predecessor, has neat animated menus on all four discs as well as apparently endless copyright warnings, but nothing as useful as a "play all" facility. The discs are more generously filled than Season 1, however, and each episode has an optional group commentary from Matt Groening and various members of his team. The fourth disc has sundry snippets including the Springfield family at the Emmy Awards ceremony, Julie Kavner dressed up as Bart at the American Music Awards and videos for both "Do the Bartman" and "Deep, Deep Trouble" (all with optional commentary). There are two short features dating from 1991: director David Silverman on the creation of an episode and an interview with Matt Groening. TV commercials for butterfinger bars, foreign language clips and picture galleries round out the selection. Picture is standard 4:3 and the sound is good Dolby 5.1. —Mark Walker
The Simpsons: Complete Season 3
First broadcast in 1991 the third series of The Simpsons contains a clutch of candidates for "Best Simpsons Episode Ever". Homer is on such appallingly good form throughout this series that a reasonable case can be made for asserting that he has superseded the importance of his Greek namesake in the annals of culture and civilisation.

The opening "Stark Raving Dad", for instance, features a guest appearance by an un-credited Michael Jackson, who plays an obese white inmate whom Homer meets while confined to a mental institution. Other standout episodes include "Like Father, Like Clown", in which Krusty reveals he is estranged from his Rabbi father; this is The Simpsons at the height of its powers, mature, ironic, erudite and touching while bristling with slapstick and Bart-inspired cheek. "Flaming Moe's" features Aerosmith and sees Homer invent a cocktail which desperate, sleazy bartender Moe steals from him. "Radio Bart" is another demonstration of the series' knack for cultural references, parodying the Billy Wilder movie Ace in the Hole. Finally, there's "Brother Can You Spare Two Dimes", in which Danny DeVito reprises his role as Homer's brother, regaining the fortune Homer lost him by inventing a Baby Translator.

Immensely enjoyable at anything from a primary to a doctoral thesis level, this third year of the show demonstrates conclusively that The Simpsons is quite simply, and by a large margin, the greatest television programme ever made. —David Stubbs
The Simpsons: Complete Season 4 [1990]
By its fourth series, The Simpsons had come far enough for Lisa to make a self-referential joke about Dustin Hoffman's and Michael Jackson's pseudonymous guest voice appearances in series 2 and 3, respectively. In this series, no less than Elizabeth Taylor (in two episodes), Bette Midler and even the reclusive Johnny Carson blessed The Simpsons with their iconic presences. Awhile back, US magazine Entertainment Weekly ranked the top 25 Simpsons episodes. Five gems from series 4 cracked the top 12, including the (debatable) choice for No. 1, "Last Exit to Springfield". Other episodes that loom large in the Simpsons legend are "Mr Plow" (you know the jingle: "Call Mr Plow / That's my name / That name again is Mr Plow"), "Marge vs. the Monorail", featuring a Music-Man-style extravaganza, and "A Streetcar Named Marge", the episode that outraged New Orleans residents, who heard their fair metropolis referred to as "a city that the damned call home".

The Simpsons smartly subverts traditional family sitcom convention, but anyone who thinks the show doesn't have a heart is advised to watch "I Love Lisa" and "New Kid on the Block", two fourth-series gems that absolutely nail the agony and ecstasy of unrequited crushes ("You won't be needing this", a heartbroken Bart fantasises his babysitter saying while dropkicking his heart into a wastebasket in "New Kid"). While the Simpsons' celebrated ensemble gets all the glory, we must pause now to praise the peerless writing staff, among them George Meyer, Al Jean, Jon Vitti, John Swartzwelder, David Silverman and Conan O'Brien. One can only marvel in astonishment at the alchemy that went into creating, week after week, such essential episodes as "Kamp Krusty", "Streetcar", the profane and profound "Homer the Heretic" and "Lisa the Beauty Queen" (and that's just disc 1!). The animators, too, rose to the occasion, particularly in "Itchy & Scratchy: The Movie", with its dead-on, ultra-violent sinking of the seminal Disney cartoon "Steamboat Willie". Another benchmark in The Simpsons' rise to the TV pantheon is its very first clip show. What Homer says about donuts in "Monorail" holds true as well for The Simpsons itself: is there anything this show can't do? —Donald Liebenson
The Simpsons: Complete Season 5 [1990]
Sixteen seasons (and counting) of pop culture-rocking brilliance, the first four of which have already been gloriously archived on DVD. But in the words of Krusty the Clown: "What has The Simpsons done for me lately?" Well, how about all 22 episodes of season 5, each accompanied by commentary, deleted scenes, and other encyclopedic extras that hopelessly devoted Simpsons fans crave, no, demand? Season 5 is perhaps not as classics-packed as the third or fourth seasons, but no self-respecting Simpsons fan should be without the episodes "Homer's Barbershop Quartet", featuring George Harrison, "Cape Feare", one of Sideshow Bob's (and guest voice Kelsey Grammer's) finest half-hours, "Rosebud", "Springfield (Or, How I Learned to Stop Worrying and Love Legalized Gambling)" and "Bart Gets Famous", with the Springfield-sweeping catchphrase "I didn't do it". Plus, the star power this season is impressive: Michelle Pfeiffer as Homer's comely, donut-loving co-worker in "The Last Temptation of Homer", Albert Brooks as a self-help guru who unleashes "Bart's Inner Child", Kathleen Turner as the creator of Malibu Stacy in "Lisa vs. Malibu Stacy", and, as themselves, the Ramones ("Rosebud"), James Woods ("Homer and Apu"), Buzz Aldren ("Deep Space Homer"), and even Robert Goulet ("Springfield").

But it is the writers and the core ensemble cast who exhibit, to quote "Deep Space Homer", "the right... What's that stuff?" Series milestones include the first appearance of yokel Cletus in "Bart Gets an Elephant" and Maggie's infant nemesis, The Baby with One Eyebrow in "Sweet Seymour Skinner's Badasssss Song" which also happens to be The Simpsons' 100th episode. Add in a very good "Treehouse of Horror" episode, (which outs Ned Flanders as the Devil and Marge as the head vampire), and one Emmy-nominated musical extravaganza ("Who Needs the Quick-E-Mart" from "Homer and Apu"), and you have a Simpsons season that's not just great, it's DVD-box-set great. —Donald Liebenson
Spaced - Definitive Collectors' Edition
Edgar Wright Spacedis a sitcom like no other. The premise is simple enough: Daisy (Jessica Stevenson) and Tim (Simon Pegg) are out of luck and love, so pretend to be a couple in order to rent a flat together. Downstairs neighbour and eccentric painter Brian suspects someone's fibbing, and almost blows their cover with their lecherous lush of a landlady, Marsha. Fortunately he soon falls for Daisy's health-freak friend Twist, while Daisy herself goes ga-ga for pet dog Colin. Tim remains happily platonic with lifemate Mike; a sweet-at-heart guns 'n' ammo obsessive. The series is chock-full of pop culture references. In fact, each episode is themed after at least one movie, with nods to The Shiningand Close Encounters of the Third Kindproving especially hilarious. Hardly five minutes goes by without a Star Warsreference, and every second of screen time from Bill Bailey as owner of the comic shop where Tim works is comedic gold. The look of the series is its other outstanding element, with slam-zooms, dizzying montages, and inspired lighting effects (often paying homage to the Evil Deadmovies). It's an affectionate fantasy on the life of the twenty-something that's uncomfortably close to the truth.

The second series finds the gang at 23 Meteor Street a little older, but definitely none the wiser. Tim's career is hampered by severe hang-ups over The Phantom Menace. Daisy's career is just plain non-existent. There is still a spark of sexual tension between them, but it's overshadowed by Brian and Twist getting it on. Propelling the seven-episode series arc is the threat of Marsha discovering that none of the relationships are what they seem, Mike's increasing jealousy and a new love interest for Tim. That's the basis for a never-ending stream of in-jokes and references that easily match the quality of the first series. Tim has a Return of the Jediflashback, then déjà vu in reliving the end of The Empire Strikes Back. There are spoofs of One Flew Over the Cuckoo's Nest, Robocop, The Sixth Senseand comedy rival The Royle Family. There are guest spots from Bill Bailey, Peter (voice of Darth Maul) Serafinowicz and The League of Gentlemen's Mark Gatiss and Reece Shearsmith. Every episode is packed with highlights, but this series' guaranteed geek pant-wetting moments have to be the mock gun battles, slagging off Babylon 5and learning that "The second rule of Robot Club is: no smoking." Jessica Stevenson won a British Comedy Award for this year. It deserved a whole lot more. —Paul Tonks

On the DVD:This three-disc collector's edition contains all the extras from the previous DVD releases, plus a host of brand new features including music promos, cast interviews, and an in-depth and specially filmed documentary featuring interviews with cast members including Simon Pegg, Jessica Stevenson, Nick Frost, cameo actors (Bill Bailey, David Walliams, Mark Gatiss, Reece Shearsmith) and journalists. It also includes a tour made by Simon, Jessica and Edgar of different show locations with clips of archive footage from the very first programmes Simon and Jess appeared in together.
Spongebob Squarepants - The Movie
Those Barren Leaves
Aldous Huxley
The Time Machine Did It
John Swartzwelder * * * * * Humor/mystery novel by the writer of 59 episodes of The Simpsons.
Toy Story - 10th Anniversary Edition [1995]
John Lasseter There is greatness in film that can be discussed, dissected, and talked about late into the night. Then there is genius that is right in front of our faces—you smile at the spell it puts you into and are refreshed, and not a word needs to be spoken. This kind of entertainment is what they used to call "movie magic" and there is loads of it in this irresistible computer animation feature. Just a picture of these bright toys on the cover of Toy Story looks intriguing as it reawakens the kid in us. Filmmaker John Lasseter's shorts (namely Knickknack and Tin Toy, which can be found on the Pixar video Tiny Toy Stories) illustrate not only a technical brilliance but also a great sense of humour—one in which the pun is always intended. Lasseter thinks of himself as a storyteller first and an animator second, much like another film innovator, Walt Disney.

Lasseter's story is universal and magical: what do toys do when they're not played with? Cowboy Woody (voiced by Tom Hanks), Andy's favourite bedroom toy, tries to calm the other toys (some original, some classic) during a wrenching time of year—the birthday party, when newer toys may replace them. Sure enough, Space Ranger Buzz Lightyear (Tim Allen) is the new toy that takes over the throne. Buzz has a crucial flaw, though—he believes he's the real Buzz Lightyear, not a toy. Bright and cheerful, Toy Story is much more than a 90-minute commercial for the inevitable bonanza of Woody and Buzz toys. Lasseter further scores with perfect voice casting, including Don Rickles as Mr. Potato Head and Wallace Shawn as a meek dinosaur. The director-animator won a special Oscar "For the development and inspired application of techniques that have made possible the first feature-length computer-animated film." In other words, the movie is great. —Doug Thomas
Tremors 2 - Aftershocks [1996]
When a remote Mexican oilfield comes down with a nasty case of Graboids (for the uninitiated: giant carnivorous worms with tunnelling abilities that put Bugs Bunny to shame), it is up to those veteran monster exterminators Burt and Earl to save the day—and accumulate some much-needed payola in the process. But this time, the slimy critters may have a few new tricks up their ... um, sleeves. Although denied a chance to appear in the cinema, this unjustly neglected direct-to-video sequel delivers the same winning mixture of cornpone and gore that made the original Tremorsa cult classic. Although Kevin Bacon is missing, Michael Gross and the wonderful Fred Ward reprise their roles from the first film. A hoot-and-a-half for horror and SF fans, Tremors 2has some genuine scares and a welcome sense of humour. The DVD, presented in 1.85:1 widescreen format, has trailers for both movies but no other extra features. —Andrew Wright
Tremors 3 - Back To Perfection [2001]
Brent Maddock
Tremors 4: The Legend Begins [2003]
S.S. Wilson
Tremors [1990]
Up Superset (2 Blu-ray Discs + 1 DVD Disc + 1 Digital Copy Disc) [2009]
Ed Asner, Christopher Plummer, Pete Docter, Bob Peterson At a time when too many animated films consist of anthropomorphized animals cracking sitcom one-liners and flatulence jokes, the warmth, originality, humor, and unflagging imagination of Up feel as welcome as rain in a desert. Carl Fredericksen (voice by Ed Asner) ranks among the most unlikely heroes in recent animation history. A 78-year-old curmudgeon, he enjoyed his modest life as a balloon seller because he shared it with his adventurous wife Ellie (Ellie Docter). But she died, leaving him with memories and the awareness that they never made their dream journey to Paradise Falls in South America. When well-meaning officials consign Carl to Shady Oaks Retirement Home, he rigs thousands of helium balloons to his house and floats to South America. The journey's scarcely begun when he discovers a stowaway: Russell (Jordan Nagai), a chubby, maladroit Wilderness Explorer Scout who's out to earn his Elderly Assistance Badge. In the tropical jungle, Carl and Russell find more than they bargained for: Charles Muntz (Christopher Plummer), a crazed explorer whose newsreels once inspired Carl and Ellie; Kevin, an exotic bird with a weakness for chocolate; and Dug (Bob Peterson), an endearingly dim golden retriever fitted with a voice box. More importantly, the travelers discover they need each other: Russell needs a (grand)father figure; Carl needs someone to enliven his life without Ellie. Together, they learn that sharing ice-cream cones and counting the passing cars can be more meaningful than feats of daring-do and distant horizons. Pete Docter (Monsters, Inc.) and Bob Peterson direct the film with consummate skill and taste, allowing the poignant moments to unfold without dialogue to Michael Giacchnio's vibrant score. Building on their work in The Incredibles and Ratatouille, the Pixar crew offers nuanced animation of the stylized characters. Even by Pixar's elevated standards, Up is an exceptional film that will appeal of audiences of all ages. Rated PG for some peril and action. —Charles Solomon
An Utterly Impartial History of Britain:
John O'Farrell A cantankerous history of Britain by one of our most popular humorists
Vive La Revolution
Mark Steel 'An irreverent romp through the Gallic uprising...illuminating and funny'
Wayne's World/Wayne's World 2 [DVD]
The World of Karl Pilkington
Karl Pilkington Stephen Merchant Ricky Gervais
World War Z
Max Brooks
Young Frankenstein [1975]
If you were to argue Mel Brooks'Young Frankensteinranks among the top-10 funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks' previous film Blazing Saddlessent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein(1931) and Bride of Frankenstein(1935). Filming in glorious black and white, Brooks recreated the Frankenstein laboratory using the equipment from the original Frankenstein (courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for non-stop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It.) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankensteinis a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered. No video library should be without a copy of Young Frankenstein. And just remember—it's pronounced "Fronkensteen". —Jeff Shannon
The Zombie Survival Guide: Complete Protection from the Living Dead
Max Brooks